Shloka 19

Indra’s Account: Shilada’s Tapas and Shiva’s Manifestation as Nandi

Devanagari script

ब्रह्माद्यास्तुष्टुवुः सर्वे सुरेन्द्रश् च मुनीश्वराः नेदुः समन्ततः सर्वे ननृतुश्चाप्सरोगणाः

Transliteration

brahmādyāstuṣṭuvuḥ sarve surendraś ca munīśvarāḥ neduḥ samantataḥ sarve nanṛtuścāpsarogaṇāḥ

Translation

そのとき、ブラフマーをはじめ一切は主を讃え、インドラと大いなる聖仙たちも讃歌を唱えた。四方より歓呼が轟き、アプサラスの群れは舞い踊って祝した—パーシャ（縛）よりパシュ（縛られし魂）を解き放つパティを敬い奉って。

Word by Word

• ब्रह्माद्याः: beginning with Brahmā

• तुष्टुवुः: praised, hymned

• सर्वे: all

• सुरेन्द्रः: Indra, lord of the Devas

• च: and

• मुनीश्वराः: foremost sages

• नेदुः: shouted, roared, raised cries

• समन्ततः: on all sides

• सर्वे: all

• ननृतुः: danced

• च: and

• अप्सरोगणाः: groups of Apsarās (celestial nymphs)

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Brahma
• Indra
• Munis
• Apsaras

FAQs

What is the importance of this verse in the context of Linga worship?

It shows that true Linga-worship is not only ritual offering but also stuti (hymnic praise) and collective celebration that acknowledges Shiva as the supreme Pati, worthy of devotion by Devas and sages alike.

How does this verse describe the nature of Shiva (Shiva-tattva)?

By depicting Brahmā, Indra, and the munis praising Him, the verse implies Shiva-tattva as the transcendent Lord who commands reverence across all cosmic ranks—hinting at the Pati principle beyond ordinary worldly power.

What ritualistic or Yogic practice is highlighted here?

Stotra (praise), nāda (resounding acclamation), and sacred nṛtya (devotional dance) are highlighted as devotional upacāras—supporting inner purification aligned with the Pashupata orientation of surrender to the Lord.